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White marble sculpture is a cornerstone of Western art history. Archaeological inquiry, however, has demonstrated that Classical sculpture and its associated architecture were once coloured. The authors examine the Parthenon Sculptures at the British Museum to identify traces of colour and carving on their surfaces. Using close examination and archaeometric techniques, the study shows that the sculptors finished surfaces with textures that reflected specific elements (e.g. skin, wool, linen) and these were then enhanced through the application of colour, including a purple colourant and Egyptian blue. The latter was used extensively to paint elaborate figurative designs on the carved textiles. Despite the complexity of the carved drapery, elaborate ornament was applied to the finish. The findings encourage a reconsideration of the appearance of the Parthenon in the fifth century BC.

Some of the loveliest works of Archaic art were the Athenian korai-sculptures of beautiful young women presenting offerings to the goddess Athena that stood on the Acropolis. Sculpted in the sixth and early fifth centuries B.C., they served as votives until Persians sacked the citadel in 480/79 B.C. Subsequently, they were buried as a group and forgotten for nearly twenty-four centuries, until archaeologists excavated them in the 1880s. Today, they are among the treasures of the Acropolis Museum. Mary Stieber takes a fresh look at the Attic korai in this book. Challenging the longstanding view that the sculptures are generic female images, she persuasively argues that they are instead highly individualized, mimetically realistic representations of Archaic young women, perhaps even portraits of real people. Marshalling a wide array of visual and literary evidence to support her claims, she shows that while the korai lack the naturalism that characterizes later Classical art, they display a wealth and realism of detail that makes it impossible to view them as generic, idealized images. This iconoclastic interpretation of the Attic korai adds a new dimension to our understanding of Archaic art and to the distinction between realism and naturalism in the art of all periods.

The Birth and Development of the Idealized Concept of Arcadia in the Ancient World for the first time brings together all the available evidence for this topic, from the Homeric period to the early Roman Empire, in one place. The evidence is both literary and visual and is considered in a chronological sequence. Thus the reader can follow the blossoming of the Arcadian dream through eight centuries. The ideological, political and philosophical background that forms the basis of this phenomenon is also outlined, and the contributions of poets, historians, philosophers, antiquarians, architects, sculptors and painters are duly considered. The book brings to light a treasure-trove of evidence, both well-known and obscure or fragmentary, filling a significant gap in the scholarly bibliography.

Most classical authors and modern historians depict the ancient Greek world as essentially stable and even static, once the so-called colonization movement came to an end. But Robert Garland argues that the Greeks were highly mobile, that their movement was essential to the survival, success, and sheer sustainability of their society, and that this wandering became a defining characteristic of their culture. Addressing a neglected but essential subject,Wandering Greeksfocuses on the diaspora of tens of thousands of people between about 700 and 325 BCE, demonstrating the degree to which Greeks were liable to be forced to leave their homes due to political upheaval, oppression, poverty, warfare, or simply a desire to better themselves. Attempting to enter into the mind-set of these wanderers, the book provides an insightful and sympathetic account of what it meant for ancient Greeks to part from everyone and everything they held dear, to start a new life elsewhere-or even to become homeless, living on the open road or on the high seas with no end to their journey in sight. Each chapter identifies a specific kind of \"wanderer,\" including the overseas settler, the deportee, the evacuee, the asylum-seeker, the fugitive, the economic migrant, and the itinerant, and the book also addresses repatriation and the idea of the \"portable polis.\" The result is a vivid and unique portrait of ancient Greece as a culture of displaced persons.

This book explores the provenance of the so-called Berkeley Herm of Plato, a sculptural portrait that Stephen G. Miller first encountered over thirty years ago in a university storage basement. The head, languishing since its arrival in 1902, had become detached from the body, or herm, and had been labeled a fake. In 2002, while preparing another book, Miller—now an experienced archaeologist—needed an illustration of Plato, remembered this piece, and took another look. The marble, he recognized immediately, was from the Greek islands, the inscription appeared ancient, and the ribbons visible on the head were typical of those in Greek athletic scenes. The Berkeley Plato, rich in scientific, archaeological, and historical detail, tells the fascinating story of how Miller was able to authenticate this long-dismissed treasure. His conclusion, that it is an ancient Roman copy possibly dating from the time of Hadrian, is further supported by art conservation scientist John Twilley, whose essay appears as an appendix. Miller's discovery makes a significant contribution to the worlds of art history, philosophy, archaeology, and sports history and will serve as a starting point for new research in the back rooms of museums.

Freestanding bronze statuary was the primary mode of artistic expression in classical Greece, yet it was not until the nineteenth century that any original large statues of that period were unearthed. Although ancient literature has preserved information about the most famous Greek sculptors who worked in bronze, our perception of the art has been limited by the small number of extant originals from the sixth and fifth centuries B.C. there remain fewer than ten large cast bronze statues, a like number of bronze heads, an assortment of fragments, and some clay molds for casting.Carol Mattusch enriches our knowledge of this beloved but elusive art form in a comprehensive study of the style and techniques of bronze statuary during the Archaic (6th century B.C.) and Classical (5th century B.C.) periods.

Is \"space\" a thing, a container, an abstraction, a metaphor, or a social construct? This much is certain: space is part and parcel of the theater, of what it is and how it works. InThe Play of Space, noted classicist-director Rush Rehm offers a strikingly original approach to the spatial parameters of Greek tragedy as performed in the open-air theater of Dionysus. Emphasizing the interplay between natural place and fictional setting, between the world visible to the audience and that evoked by individual tragedies, Rehm argues for an ecology of the ancient theater, one that \"nests\" fifth-century theatrical space within other significant social, political, and religious spaces of Athens. Drawing on the work of James J. Gibson, Kurt Lewin, and Michel Foucault, Rehm crosses a range of disciplines--classics, theater studies, cognitive psychology, archaeology and architectural history, cultural studies, and performance theory--to analyze the phenomenology of space and its transformations in the plays of Aeschylus, Sophocles, and Euripides. His discussion of Athenian theatrical and spatial practice challenges the contemporary view that space represents a \"text\" to be read, or constitutes a site of structural dualities (e.g., outside-inside, public-private, nature-culture). Chapters on specific tragedies explore the spatial dynamics of homecoming (\"space for returns\"); the opposed constraints of exile (\"eremetic space\" devoid of normal community); the power of bodies in extremis to transform their theatrical environment (\"space and the body\"); the portrayal of characters on the margin (\"space and the other\"); and the tragic interactions of space and temporality (\"space, time, and memory\"). An appendix surveys pre-Socratic thought on space and motion, related ideas of Plato and Aristotle, and, as pertinent, later views on space developed by Newton, Leibniz, Descartes, Kant, and Einstein. Eloquently written and with Greek texts deftly translated, this book yields rich new insights into our oldest surviving drama.

This book began to take shape following a conference on the Statue of Zeus at Olympia held at the University of Queensland in July 2008. In line with the main themes of the conference, the book has two fundamental aims: the first is to recognise the unsu.

Furthermore, from the eighteenth century onward pigment residue was unknowingly cleaned off by museum conservators along with ingrained soil, before being exhibited to the public as the white and pure classical ideal. The result, Brinkmann said, 'was astounding, and shook our traditional image of antiquity to the core'.4 Their work has most recently been displayed at The Metropolitan Museum of Art alongside original antiquities during a 2023 exhibition entitled 'Chroma: Ancient Sculpture in Color'. From Monochrome to Polychrome After being conditioned to revere the monochromatic beauty of ancient sculptures, seeing them recreated in colour during the 'Chroma: Ancient Sculpture in Color' exhibition resulted in mixed reactions from viewers. Saying you've seen these sculptures when you've seen only the white marble is comparable to somebody coming from the beach and saying they've seen a whale because there was a skeleton on the beach.5 Addressing evolving research and thought on polychromy as part of a History unit helps reinforce the notion to students that historical thought, fact and understanding must be interrogated.